It was 1988 when the well known Western artist Ancel E. Nunn published a set of 40 lithographs that depict his lifetime amble through Texas -- catching the essence of bygone days through memories invoked with images of old army forts on the frontier, villages, farms, railroads, terrain and even implements left to rust by those who work the land. Printed on 13" x 20" archival paper giving a picture size of 13.25" h x 17.75" w, the lithographs are bound "portfolio" style in a sturdy cowhide cover that permits their removal individually for perusal or display.

The portfolio fits into a handsome wood case made by Nunn who titled the boxed set "Remnants of Change -- a sketchbook of Texas". Of 100 produced sets, he sold 85 and kept the rest. Many belong to historical or public libraries and university collections, some recognized nationally. Those institutional owners report that the lithographs are increasingly studied by scholars, and others, drawn to Texas regionalism as well as its influence upon our national character. Nunn died in 1999. His estate has elected to let other libraries, beyond Texas, buy 13 of the leftover sets on generous terms. For the next few weeks, its offer is tendered only to ARLIS members.

The estate has sought my counsel in placing sets, as I was once Assistant Director of the Guggenheim Museum and am a consultant to art museums besides claiming knowledge of visual materials scholars use in their research. A set costs $2,900 that covers shipping to the buyer via courier. Along with each set, as a gift, is a 128-page hardback book by Samuel C. Woolvin of poems that Nunn's 40 lithographs -- seen on its pages -- inspired. Bearing the same title (Remnants of Change), the book is from an elegant custom-bound first edition dated 1991. Within 3 weeks of a set's arrival, the recipient can return it (and the Woolvin book) for full refund.

You are invited to contact me for sought information -- by voice (until 9 p.m. CST), fax or e-mail. I can lend (for 3-4 days) the video of a lecture, about the set, where Nunn's widow -- who closely collaborated with the artist during this drawn out project -- speaks of each lithograph while leafing through the portfolio. Too, I have commentaries by the museum that recently staged a special exhibition showing every lithograph and from libraries having a set. Many historians, connoisseurs and antiquarians deem Nunn's "sketchbook of Texas" a remarkable statement to be treasured for many more generations as America rediscovers its roots.